International Women’s Day 2024
This year, International Women’s Day falls into our ‘March is Viola Month’ at Givens Violins. To celebrate both violas and the accomplished women we get to work with, we interviewed some prominent players and makers. Featured in this article are conversations with Violists CarlaMaria Rodrigues, Jennifer Houck and Sue Sidoti as well as Viola Makers Carrie Scoggins and Elisa Scrollavezza.
We are so grateful to these women for taking the time to speak with us about their journeys and careers. Happy International Women’s Day and Happy Viola Month!
CarlaMaria Rodrigues, Principal Violist of the San Francisco Opera
AB: You’ve done quite a lot of traveling around the world! What have you noticed in playing styles across the globe?
CMR: I have noticed that there is a wide variety of styles around the world, and I continue to enjoy a rich life exploring these with many new and old friends. It has been quite exciting to see how performance styles have changed in response to a growing awareness of the importance of Historically Informed Performance (HIP). What began in Europe with the rediscovery of treatises detailing historical performance practice and the use of period instruments and their replicas, has led many of us to pursue different approaches in performance. Initially adopted in the study of early music, these new approaches are increasingly applied to later composers such as Schumann and Brahms and as this has been a new approach for me, I have relished the challenge to develop different ways of producing sounds with my bow and different ways to utilize my vibrato and hope to explore this further on period instruments.
AB: Who are your biggest inspirations and influences?
CMR: This is not an easy question to answer as there have been so many influences and inspirations. But if I was to pull a specific time out of a hat, I would say my initial influences were found growing up at the Yehudi Menuhin School. There were many instances in that environment that to this day hold a place in my heart and memory. One such memory was playing Chausson Concerto for Violin, Piano, and String Quartet with Yehudi and Hepzibah Menuhin and 3 other colleagues from the school. We were 14 years old and at that time were mesmerized by how these icons rehearsed and discussed the music, and while offering advice and suggestions to us, never instilled any specific idea except that of ‘listening’. This is something I continue to reflect on today as I feel very fortunate to have grown up in a time where information and access to information preceded the internet and seeking out the performers and performances felt like the driving force of curiosity. The mentors that I had the privilege of working with and hearing perform include Hans Keller, Vlado Perlemuter, Nadia Boulanger, Sir Michael Tippett, Stéphane Grappelli, Ravi Shankar, Louis Kentner, Sylvia Rosenberg and many more. These artists in person inspired me then and continue to inspire me today.
AB: Tell us about one of your great successes.
CMR: Any successes I have achieved over the years I attribute to the many teachers, colleagues and friends I have met along the way. I have had the fortune to play in the Zukerman & Friends’ Ensemble for many years with amazing colleagues traveling to South America, Australia and Israel. And my time at the Marlboro Music Festival was such an inspiring and fulfilling journey, to have made so many friends and to have worked with Rudolph Serkin was a real gift.
AB: What is your advice to young players, or those beginning in their careers?
CMR: My advice to students and young artists I meet and work with is to be open to experiencing all forms of musical and artistic mediums including other art forms i.e. theatre, dance, painting and literature. Encourage people you meet to experience live music and art. The interaction between performer and listener is exciting, relevant and enriching.
AB: Is there a piece you’re particularly interested in playing?
CMR: This year I will be taking some time off to learn some new repertoire for me, including Lera Auerbach – 24 Preludes for Viola and Piano and the Sonata No.1 “Arcanum” for viola and Piano.
Jenifer Houck, Violist in the Kansas City Symphony
AB: I noticed your involvement in musical theater, choir, and the Disney National Youth Orchestra, along with acting in commercials and TV shows as a child. How did you decide on playing the violin over your other involvements?
JH: I’m not 100% sure I ever stopped wanting to pursue musical theater, or acting, but I believe I grew weary of the 3+ (each way) hour drive to do so, in Los Angeles, from my home town. I still sang in small chamber choirs and worked for churches in college, and also participated in opera scenes. Even when working at NRO (National Repertory Orchestra) in college, I sang with the orchestra with rep like DeFalla, and several times had the opportunity to sing “Summertime” by Gershwin. I think that with viola (I switched in college permanently), I had immediate success (luckily) and although I worked hard, I got to experience really amazing opportunities early on.
AB: You’ve soloed with several orchestras and played as Co-Principal here in the states and abroad. What do you see as some of your best career achievements? What have been some of your most memorable performances?
JH: I have played in orchestras (or with orchestras) in 11 countries. I have played anywhere from Carnegie Hall to the Sydney Opera House, in Tokyo, Seoul, at a jazz festival in Switzerland, and in our acoustically perfect hall here in Kansas City. I do not say this lightly, but there is NOTHING like playing the National Anthem for 76,000 people at the loudest stadium in the world, Arrowhead Stadium, home of the Chiefs. It was unbelievable.
AB: What advice do you have for young viola players?
JH: I think that music is something one should do because they love it. However, it’s incredibly difficult to win an orchestral job, and the statistics are that of almost the NFL…only about 3% will ever do so. My wish is that more teachers were honest with their students about the playing level/talent/work ethic required to be in an orchestra, and overall should NEVER discourage the need and power of a great band/orchestra director, music therapy, administration, and other careers in music. Also, the power of just loving music, and doing something else for a career. There are incredible opportunities in music, both for participants and patrons and no job is beneath another.
AB: You mentioned your love for a crisp Provençal Rosé on the patio… what piece comes to mind when you think of this. What would pair well with a Rosé on a sunny day?
JH: I may be the worst ambassador for classical music by saying this, but I rarely, if ever, listen to classical music outside of work (or preparing for work). I grew up listening to classical music of course, but my parents made sure I also had a very solid knowledge of everything 1920-1970. I think that I missed out on a lot of great music from the 80’s and 90’s, but I’m making up for it now. You definitely could find me listening to anything from Tech9ne, Taylor Swift, to the Punch Brothers, to Garth Brooks and Laney Wilson, to Beyoncé, Ludacris and anywhere in between. Also, if you didn’t happen to know, I play in the Kansas City Symphony, and we are about to play a concert with Tech9ne, and he put the song “Red Kingdom” on the map. Go Chiefs!!!!
Sue Sidoti, Violist for the South Dakota Symphony Orchestra
AB: How did you get you start as a violist?
SS: I am a violinist who started playing the viola in 9th grade to join a string quartet. The technique was similar, and all I had to do was learn a new clef. I’ve loved playing string quartets ever since then, and it has always been one of my favorite ways to spend time with friends. I still love playing the violin, and each has its own great sound characteristics. The rich, chocolaty sound of the viola is perfect to fill in the sonority of a string quartet (or an orchestra, for that matter—especially if the conductor doesn’t try to shut you up all the time!).
AB: What skills do you consider most important for being an effective orchestra member?
SS: The skills you need to play in any ensemble include being able to fit your intonation, sound, and technique with other players. There is a certain give and take, and ability to adapt on the spur of the moment to what someone else in the group did. For a quartet or trio to work, the players have to respect each other musically and be able to disagree without condescension.
AB: How would you describe your style of teaching?
SS: My teaching style depends a lot on what each student needs and responds to. Intonation is one of the first things I try to prioritize. After that, producing a beautiful sound that can vary with musical style and expression, understanding of musical phrasing, rhythmic stability, familiarity with musical styles, etc., etc., —there are many aspects to playing the viola well, but how one achieves them may be different for each student. Some people are good at imitation, some need detailed analytic description, and some need little more than a standard they can look up to. I don’t insist that my students use the same bow grip, fingerings, or type of vibrato that I use—I try to find a style that fits a student’s natural tendencies.
AB: Do you think your playing style or technique has evolved over time?
SS: I don’t know that I would say that my playing has “evolved” over time, but as I keep improving, I am freer to express myself musically. I learn a lot from my colleagues, my students, and great artists of the past and present. Playing music is one of the most exhilarating things you can do, and I can’t imagine life without it!”
Carrie Scoggins, Viola Maker in Salt Lake City, USA
AB: What considerations or models do you think of when you’re designing a viola?
CS: My intent when choosing a model for my violas is to make something that is player friendly. The upper shoulder shape must not be too wide so the player can get into higher positions easier. I also chose a shorter string length. The patterns I have are based on the Amati model.
AB: What sort of wood do you prefer for viola?
CS: I use different woods for the viola also. Violins are always European maple but for my violas I will use Tulip Poplar, Big Leaf Maple, or European Maple for the backs. I am just finishing three different size violas right now – each one a different wood for the backs.
AB: How did you get your start in viola making?
CS: I grew up studying the violin but started playing the viola in college and loved its’ deep, rich sound. When I started making violas here in Utah, I built a number of them for David Daltons students at BYU. I learned a lot from those instruments and following the players through the years.
AB: What is your focus when making these instruments?
CS: What I focus on is building an instrument that is even across the register, speaks quickly, has a wide dynamic range, and color to the voicing. Can you play pianissimo and still have clarity and be heard? A viola that is just loud, without color to its voicing, is boring to me. A viola that can stand up to chamber music work must have character!”
Elisa Scrollavezza, Viola Maker in Parma, Italy
AB: What are the differences in viola making rather than other stringed instruments?
ES: The viola is the instrument that, in musical ensembles, acts as a union of the low and high registers, so it is usually comfortable to have a warm and defined sound. Unlike the violin, there are many models of violas which vary especially in length, and I believe that every violist is more comfortable with one size rather than another, but from the luthier’s point of view I think that the belief that small violas don’t produce a large sound is false (in fact the violin is smaller than the viola). Rather, one must keep in mind that the shorter violas must have different relationships in the heights of the ribs based on the arching of tops.
AB: What styles of wood do you use in your violas?
ES: The choice of wood is very important, always considering the model you decide to make. It must be kept in mind that softer woods help the lower registers, of course the luthier’s experience lies in finding the right balance.
