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After being interrupted by this activity, the slow bass line is then sequenced in the violas and reintroduces the phrase (at rehearsal number 25).
It is an attractive work, distinguished as probably the first real viola concerto in existence.
During the course of the work, an archaic-sounding theme on viola, like a mediaeval chant or carol, is transmogrified and splintered.
The notion of the solo viola as the narrator of the poem is immediately implanted.
The soloist typically sings over repeated semiquaver viola figures - there are no violins - at the upper, more mellifluous end of his range.
Footnotes in the separate viola part relate to editorial decisions made concerning it alone, and these comments are not duplicated in the piano reduction.
The boy-to-girl ratios for learning viola, cello and double bass were 7:3, 7:3 and 5:1 respectively.
Initial discrete cells presented by a viola are permutated and distributed among other solo instruments in a gradually proliferating internal dialogue characteristic of chamber music.
The tonal variety accorded it, first by the cello, then the viola, does seem to mirror the refracting effect of water on the visible.
Four times the viola initiates further discussion, but the discourse closes, unresolved and uneasy.
For most of the time the two violins are coupled in euphonious thirds, the viola and bass in tenths.
Most arias are accompanied only by strings: violins (sometimes divided, sometimes unison), violas and bassi.
Reflections (1960) for viola, clarinet, oboe and harp finds the composer at her most relaxed and good-humoured.
At one point she goes to a 'conventional' viola tutor, who teaches her to read notation.
Towards the end, the viola presented a memorably ardent cantabile rendering of the keening lament, brutally interrupted by tormenting tutti interjections.
