Instruments – Strings – The Viola

The development of the viola is closely tied to the evolution of the violin family in northern Italy during the late fifteenth and early sixteenth centuries. Early violas, often referred to as viole da braccio, varied considerably in size and tuning, reflecting a lack of standardisation that persisted well into the Baroque period.

Unlike the violin, which quickly assumed a virtuosic and soloistic role, the viola was primarily valued for its inner harmonic function within ensembles, particularly in consort and early orchestral writing. This subordinate role is evident in much seventeenth-century repertoire, although composers such as Claudio Monteverdi began to exploit its darker timbre for expressive purposes.

By the late Baroque, figures like Johann Sebastian Bach had elevated the instrument’s status through works such as the Brandenburg Concerto No. 6, which notably omits violins and foregrounds the viola, and the viola parts in his cantatas and passions, which demonstrate an increasing independence and idiomatic awareness.

The Classical and Romantic periods saw further, albeit gradual, emancipation of the viola. While it remained less prominent than the violin or cello, composers including Wolfgang Amadeus Mozart—himself a violist—wrote significant parts that enriched its repertoire, most notably in the Sinfonia Concertante in E-flat major, K. 364.

The nineteenth century brought a clearer solo identity, with Hector Berlioz’s Harold en Italie representing a landmark in orchestral writing for the instrument, blending symphonic and concerto elements.

In the twentieth century, the viola experienced a marked renaissance, driven by virtuosi such as Lionel Tertis and William Primrose, who inspired composers to expand its technical and expressive possibilities. Key works from this period include Béla Bartók’s Viola Concerto, Paul Hindemith’s sonatas and concertos (reflecting his own career as a violist), and William Walton’s Viola Concerto, all of which contributed to establishing the viola as a fully-fledged solo instrument with a distinct and compelling voice within both chamber and orchestral contexts.