Lionel Tertis and the Emancipation of the Viola

Lionel Tertis is often described as the first great virutoso of the viola. Not only was he a master technician and a musician of the greatest integrity, but he worked wonders to promote the cause of the "Cinderella of the Orchestra" and change the future of the viola.

One of his greatest achievements was to increase the repertory tenfold by transcribing great works for the cello and violin (for example Delius' second Violin Sonata), and also by inspiring young British composers to turn their hand to writing for the viola. Some of the greatest works of British music and of the viola repertory bear dedications to Lionel Tertis. Sir Arnold Bax wrote two sonatas as did the young York Bowen, with whom Tertis had a successful duo partnership. Works were also forthcoming from Sir Arthur Bliss and William Walton. It is of course the Walton Viola Concerto that is perhaps the most significant work in the viola repertory. The concerto, although dedicated to the enigmatic Christabel, was inspired by the technical mastery of Tertis' playing. It is ironic therefore that Tertis rejected the manuscript, unsure of the appeal of Walton's specific and personal harmonic language. He came back to the work a year later however, having been reconciled to it by hearing the premiere given by German composer and violist Paul Hindemith.Throughout his career Tertis continued to champion the work in concerts across the world.

Tertis also aimed to further the chances of the viola by redesigning the instrument itself. He conceived a very large viola whose proportions were designed to maximise the resonant potential of the instrument, thus helping overcome the problem of succesfully projecting the rich viola sound. Although many went into production across the world, their size make them a rarity among players.

Hindemith's contribution to the emancipation of the viola is unprecedented. Many of his numerous recordings are available in digitally remastered format on CD and give great insight to the formidable technique that pushed the boundaries, allowing composers (such as Bowen, Bliss and Walton) to write more and more demanding music for the viola. Without Tertis and his legacy of works and recordings and research into the instrument, "Cinderella" may never have gone to the ball - and now we are lucky to carry on dancing!