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Prayer for Solo Viola: Viola Alone Parts

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Prayer for Solo Viola Cover Image

Prayer for Solo Viola: Viola Alone Parts

By Julian Anderson

Item: 12-0571536352

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Description
Prayer for Solo Viola was commissioned by the Nash Concert Society for the Nash Ensemble and was first performed by Lawrence Power at the Wigmore Hall, London, on March 5, 2009. This short piece (8 minutes) explores the rich and varied tone of the viola. The basic trajectory is an upwardly flowing melodic line, by turns contemplative and passionately lyrical, interrupted by a variety of other sonorities and contrasting episodes. Prayer is dedicated to Ginny Macbeth, in gratitude and recognition of her tireless work on behalf of classical music and contemporary composers.

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Additional Details
Series: Faber Edition
Publisher: Faber Music
ISBN10: 0-571-53635-2
ISBN13: 978-0-571-53635-1
UPC: 9780571536351
SKU: 12-0571536352
Instrumentation: Viola Alone

More about this title

About the Composer: Julian Anderson

Julian Anderson is a British composer whose work spans orchestral, chamber, and vocal music. His compositional language combines modernist rigor with lyrical invention, and he has received commissions from major ensembles and festivals worldwide. Anderson's music often explores the expressive possibilities of individual instruments and voices, drawing listeners into intimate, carefully crafted soundscapes.

Why we love this

Anderson writes for the viola with genuine understanding of its capacities, moving far beyond the instrument's traditional supporting role. The piece demands interpretive maturity and tonal control from the performer while offering a concert work of substance that showcases why the viola deserves space as a solo voice. At eight minutes, it fits festival and recital programming without overwhelming either performer or audience.

What to expect

Prayer balances restraint and intensity, moving through passages of meditative quietness into moments of passionate expression. The viola's warm register becomes a vehicle for introspection, while sudden textural shifts create an emotional landscape that feels both intimate and expansive.

Who it's for

Violists preparing for recitals, competitions, or festival performances who seek a contemporary work of artistic depth. This piece appeals to performers confident in their musicianship and tonal command, as well as to audiences interested in chamber music and modern composition.

How to get the most out of it

  • Shape the upward-flowing melodic line with subtle dynamic contours rather than pushing toward climax; Anderson's arc is contemplative, not aggressive
  • Explore the full range of the viola's sonorities in the contrasting episodes, letting textural variety emerge from tonal color choices rather than technical display
  • Allow silence and space to breathe between sections; the piece's power lies partly in what is not played

How to use it

Program this as a centerpiece of a viola recital, pairing it with baroque or classical repertoire to highlight how Anderson's writing both honors and reimagines the instrument's voice. It also works as a festival showcase piece where a single performer can make a strong artistic statement in a brief time slot.

Skills your students will build

  • Sustaining long, lyrical lines with consistent tone and phrasing
  • Exploring extended sonorities and textural variety on a single instrument
  • Interpreting contemporary notation and compositional intent
  • Shaping an eight-minute form with dramatic arc and musical architecture

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