Bowing techniques application in viola playing for viola concerto in C minor by Henri Casadesus / Aisyah Nabilah Azman

The viola though less neglected than before, has always had a problem of lacking inputs on repertoires or playing techniques. The viola concerto in C minor by Henri Casadesus has undoubtedly became one of the fundamental piece for a progressing player, however there are little to no specification on the playing techniques of the piece despite the importance of musical interpretation being emphasized in performances since ages ago to provide clarity on musical works. Guidance should especially be provided for players learning this concerto while they tackle upon the complexity of more advanced techniques while stepping into a more refined artistic form of performing or playing. The aim of the study is to find out the appropriate bowing techniques of the concerto to provide more perspectives in unfolding each of the possibly challenging excerpts on the composition while it serves as an essential contribution to a good interpretation of a playing. The study is carried out comparatively through the analysis of professional players with established performing skills, hopefully to provide more insights for maturing players in acquiring more advanced playing skills in general. Though there is no specified performer that has been preferred overall as a result, however each performers have contributed to the efficiency of the bowing techniques in specific movements as they flaunt their charming identity while still abiding to the initial mood of the concerto. Each of the performers are personally chosen based on the most fitting interpretation for the mood of each movements, for it to be distinguished into different characters eventually bringing life to the composition. The explained implications of the bowing techniques can give more outputs for learning players in why it is appropriate for the interpretation as well as the know-how of applying the techniques as efficient as possible.