Likewise, Berlioz’s Harold in Italy must surely be classed as an essentially orchestral work, albeit with an important solo part. This means that the two Brahms sonatas, originally written for the clarinet, are left out, as well as some familiar music in which the viola is prominent, such as Bach’s Brandenburg Concerto No 6 and Mozart’s Sinfonia concertante, K364. These 10 works are all specifically designed for the viola – solo, and with piano or orchestra. Another was Paul Hindemith, who himself made several substantial contributions to the viola literature I’ve not included any of them, however – despite the idiomatic writing and fine craftsmanship, I find them strangely unappealing. One of the most important pioneers was Lionel Tertis, commemorated in this selection. The 20th century saw the rise of specialist viola players, demanding original solo music. Despite this, there is a small pre-1900 repertoire of outstanding viola works, including three items on the list I’ve included here. Why should this be so? The lack is sometimes traced to a low standard of viola playing (hence the ubiquitous ‘viola jokes’), but the truth is surely rather different: until comparatively recent times, viola parts were played by violinists, who swapped instruments as occasion demanded, preferring the more brilliant violin for solo performance. But whereas violinists and cellists can choose from many fine concertos and sonatas, viola players have far fewer solo options. An essential part of the string consort music of the 16th and 17th centuries, it then took its place in the orchestra and in many of the most popular forms of chamber music.
The viola possesses a history as long and distinguished as that of its fellow violin family members.
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