ANGELA LYONS

Is the viola limited by its repertoire? Certainly in years past the instrument was regarded as an awkward anomaly, more appropriate for providing orchestral and chamber harmonies than for the solo spotlight – and although modern composers have increasingly harnessed its beautiful and sonorous qualities, the viola to this day is less programmed in solo slots than either the violin or cello. Yet for those intrepid violists keen to explore and experiment, the gaps in its literature may actually present a liberating opportunity. One such musician is Antoine Tamestit, who this summer releases two albums of Bach arrangements – the viola da gamba sonatas in collaboration with harpsichordist Masato Suzuki, and the Goldberg Variations with his regular chamber partners Trio Zimmermann. Asthe tells Carlos María Solare on page 28, both projects have aforded the space to experiment with voicing and sound, be it with gut strings and a Baroque bow or in other, less conspicuous ways.