Allgemein @en

"Of all the instruments of the orchestra, the viola is the one whose excellent qualities have been ignored for the longest time. It is just as nimble as the violin, the tone of its low strings possesses an attraction all its own, its high notes dazzle through their sad = passionate expression, and its sonic character in general, of profound melancholy, differentiates it clearly from the other string instruments. ... If a musician was incapable of properly performing as a violinist, then he took up the viola. This is the reason why violists could neither play the violin nor the viola. I must even confess that this prejudice against the viola part has not been completely eradicated even in our time, for there are still viola players in the best orchestras who cannot cope with either the violin or the viola. However, one has more understanding, from day to day, for the awkwardness that results from the toleration of such people, and thus the viola is being gradually entrusted only to skilled hands, like the other instruments." The prophetic words of the romantic firebrand Hector Berlioz, who sent his viola-playing Harold on an Italian adventure, was only actually fulfilled in the 20th century, when Lionel Tertis and William Primrose – for Christian Euler he is, alongside Fritz Kreisler, Jascha Heifetz and Emanuel Feuermann, the fourth in the string quartet of personal heroes – two masters of their instrument, appeared. Strongly inspiring powers emanated from them, as well as the recognition that, just as one should not prejudge people, one should not instruments according to their appearance, either. We may count the enthusiastic viola player Paul Hindemith along with these two outstanding virtuosos, as one who