Viola

If ensembles were cakes, the viola line would form their rich filling. Providing the necessary harmonies in orchestral and chamber music, the viola has been somewhat neglected as a solo instrument throughout history. But over the past 100 years or so, its fortunes have begun to change, with more solo and chamber music giving the viola a chance to shine. The viola is traditionally the workhorse of the string quartet or orchestra, which is why viola parts in Baroque- and Classical-era works tend not to stray too far from the functional. The Romantic era changed all that, bringing with it new harmonic possibilities, thrusting the viola further into the spotlight. In the 20th century, composers such as William Walton, York Bowen, and Rebecca Clarke blazed a trail for it as a solo instrument. Throughout music history, however, you will find golden moments when the viola gets to hold its own. Listen closely for the faithful sheepdog in the slow movement of Vivaldi’s “Spring” from The Four Seasons, the remorseful apprentice in the closing moments of Dukas’ The Sorcerer’s Apprentice, and occasional moments in the spotlight in many of Beethoven’s string quartets.