I nominate these 3:
Viola
I'm not even talking about the viola being the butt of jokes, rather the lack of extended solo repertoire for this rich and beautifully expressive instrument. Its mid range contains a range of expression that the cello and violin, who steal all the spotlight, lack. Even the beautiful high range of the cello doesn't replace the viola's robust intrinsic timbral quality. Certainly, Hindemith contributed a lot to the scarce repertoire by being a violist himself, and you have the occasional concerti like Bartok or Harold in Italy, but overall the viola is still underrepresented and underutilized.
I've always found it mildly intriguing that Shostakovich decided to write a viola sonata on his deathbed, out of all the things he could've chosen. While I personally think it's often a fallacious way of thinking to attach extra-musical meaning to things by voyeuristically prying into the composers personal life, I don't think I'm going out on a limb to say that Shostakovich likely specifically wanted the timbre of the viola to convey a somber, haunting feeling as he reflected about the end of his life.
Double Bass
At least the bass gets the love it truly deserves in jazz. I've always been jealous of anyone who can play it even halfway decently (cello skills sadly do NOT translate to bass, contrary to what one might think
). It's one of my favorite instruments and actively seek out its repertoire, and love its unique earthy timbre and has a beautiful sound in every single part of its range.
I do understand the practical considerations and hindrances when it comes to writing bass repertoire, namely that it's hard to make the sound project well. Naturally this is because of its range as well as it's construction from being a member of the viol family (the obsolete viola da gamba suffered from the same projection issues too). And then there are issues of maintaining registral balance. However, composers have demonstrated ways of working around it effectively and with enough industry and imagination, a good enough composer can overcome these hurdles.
For example, Kalevi Aho takes an outside-the-box approach to the concerto medium with these considerations in mind. Instead of making the double bass a virtuosic spotlight instrument as one typically does for concertos, he utilizes it as a textural enhancer in a strikingly brilliant way:
At the same time though, it's perfectly possible to use the bass as a conventional concerto instrument as well, like Walter Ross skillfully demonstrates here:
Harpsichord
It doesn't take a genius to figure out why the harpsichord fell out of favour to the piano and why modern composers don't use it. I'm not going to state the obvious advantages the piano has over the harpsichord as they speak for themselves. It has built up the connotation of being a vestige of the Baroque era and whenever it's used, composer likely fear it's going to impart an anachronistic flavor that sticks out like a sore thumb. I think much differently! I believe it's a legit instrument that has every reason to be revived, and its shimmery, metallic crystal clear timbre is wonderful. I love how it borders on sounding electronic, surreal and computer generated. I've only heard it used in modern music once, by De Falla, and he proves that you can use it in modern music just fine:
What are your opinions? What do you think are underrated instruments that deserve more repertoire and time in the spotlight? (And I'd prefer if we refrained from arguing if they are objectively or subjectively so...)
Viola
I'm not even talking about the viola being the butt of jokes, rather the lack of extended solo repertoire for this rich and beautifully expressive instrument. Its mid range contains a range of expression that the cello and violin, who steal all the spotlight, lack. Even the beautiful high range of the cello doesn't replace the viola's robust intrinsic timbral quality. Certainly, Hindemith contributed a lot to the scarce repertoire by being a violist himself, and you have the occasional concerti like Bartok or Harold in Italy, but overall the viola is still underrepresented and underutilized.
I've always found it mildly intriguing that Shostakovich decided to write a viola sonata on his deathbed, out of all the things he could've chosen. While I personally think it's often a fallacious way of thinking to attach extra-musical meaning to things by voyeuristically prying into the composers personal life, I don't think I'm going out on a limb to say that Shostakovich likely specifically wanted the timbre of the viola to convey a somber, haunting feeling as he reflected about the end of his life.
Double Bass
At least the bass gets the love it truly deserves in jazz. I've always been jealous of anyone who can play it even halfway decently (cello skills sadly do NOT translate to bass, contrary to what one might think
). It's one of my favorite instruments and actively seek out its repertoire, and love its unique earthy timbre and has a beautiful sound in every single part of its range.I do understand the practical considerations and hindrances when it comes to writing bass repertoire, namely that it's hard to make the sound project well. Naturally this is because of its range as well as it's construction from being a member of the viol family (the obsolete viola da gamba suffered from the same projection issues too). And then there are issues of maintaining registral balance. However, composers have demonstrated ways of working around it effectively and with enough industry and imagination, a good enough composer can overcome these hurdles.
For example, Kalevi Aho takes an outside-the-box approach to the concerto medium with these considerations in mind. Instead of making the double bass a virtuosic spotlight instrument as one typically does for concertos, he utilizes it as a textural enhancer in a strikingly brilliant way:
At the same time though, it's perfectly possible to use the bass as a conventional concerto instrument as well, like Walter Ross skillfully demonstrates here:
Harpsichord
It doesn't take a genius to figure out why the harpsichord fell out of favour to the piano and why modern composers don't use it. I'm not going to state the obvious advantages the piano has over the harpsichord as they speak for themselves. It has built up the connotation of being a vestige of the Baroque era and whenever it's used, composer likely fear it's going to impart an anachronistic flavor that sticks out like a sore thumb. I think much differently! I believe it's a legit instrument that has every reason to be revived, and its shimmery, metallic crystal clear timbre is wonderful. I love how it borders on sounding electronic, surreal and computer generated. I've only heard it used in modern music once, by De Falla, and he proves that you can use it in modern music just fine:
What are your opinions? What do you think are underrated instruments that deserve more repertoire and time in the spotlight? (And I'd prefer if we refrained from arguing if they are objectively or subjectively so...
)
