ABSTRACT
The proclivity to marginalize the viola (and viola players) was infamously articulated in Johann Joachim Quantz’s seminal treatise On Playing the Flute (1752): The viola is commonly regarded as of little importance in the musical establishment. The viola began gaining acceptance as a solo instrument largely due to Lionel Tertis, the pioneering English solo violist, and his tireless efforts to challenge the viola’s treatment as the “Cinderella” of string instruments. Tertis viewed intonation as “the rock-foundation of the string player’s equipment” without which “no one should be allowed to perform in public.” To enhance musical playing of the viola section in orchestra, Tertis suggested that “[one] part of the viola section plays the melodic phrase on one string, while others in the same section employ two strings for the same phrase, i.e., unanimity of fingering and choice of position is essential”.
