Day 6 of the Tertis and Aronowitz competition
Reflecting on the First Joint Edition of the Aronowitz and Tertis Competitions
On the sixth day of this landmark event—the first-ever joint edition of the Aronowitz and Tertis competitions—it’s worth pausing to reflect on what has made it so extraordinary. Hosted at the stunning Glasshouse in Gateshead, with its breathtaking views and surroundings, the venue proved to be a perfect space for violists to shine. After all, even if we violists aren’t always in the spotlight, we could certainly bask in the natural light pouring through the Glasshouse’s windows!
But this event wasn’t just about the location. It was the incredible vision and hard work of Louise Lansdown and her team that made it possible. They achieved something monumental by combining these two prestigious competitions into a single, unified celebration of viola artistry. This success was not without challenges—resources were limited, and much of the work was unpaid. Their commitment reminds us that events like this come to life only through dedication, passion, and a shared belief in the viola and its community.
This leads us to an important point: just because this event was achieved on a tight budget doesn’t mean it always should be. Supporting such competitions, as well as the cultural institutions that sustain our art, requires ongoing investment—both financial and emotional—from everyone in the viola world.
Support for the arts is fragile. Without a new generation of benefactors, initiatives like this could disappear. Personally, I remember how an anonymous donor paid for me to attend masterclasses at the Britten Pears School in Aldeburgh when I was young. Her generosity shaped my journey as a violist, and I hope there are more individuals, families, and institutions who can step forward to support the next generation. Whether it’s sponsoring a competition, funding a concert hall, or commissioning a new work, every contribution matters.
That said, supporting the viola community isn’t just about financial donations. Every violist can play a role. Joining your local viola society is one simple but meaningful step. If you’re in the UK, become a member of the British Viola Society; if you’re in France, join the French Viola Society. If your country doesn’t have a viola society, consider joining the Virtual Viola Society. After all, violists are known for their harmonious nature—let’s show the world we can harmonize our efforts offstage as well as on!
The International Viola Society (IVS), as the umbrella organization for viola societies worldwide, continues to play a crucial role in sustaining and promoting our community. It ensures that the International Viola Congress remains a global, traveling event, uniting violists across borders. Last year, the first International Viola Congress in South America was held in Campinas, Brazil, a remarkable occasion that highlighted how some regions must fight tirelessly to secure a cultural future.
Although this year there is no congress there is good news on the horizon. In January 2026, the French Viola Society will host the 50th International Viola Congress in Paris—a milestone event for violists worldwide. Mark your calendars: January 19th to 23rd, 2026!
Finally, I want to once again express heartfelt gratitude to Louise Lansdown and her outstanding team for their vision and determination. The inaugural joint edition of the Aronowitz and Tertis competitions has been a resounding success, and it is our shared responsibility to ensure this legacy continues.
Who knows what the future will bring? Perhaps in three years’ time, we will witness another inspiring generation of performers at these competitions. Or perhaps in six years, will we see them paired with the International Viola Congress? One thing is certain: we must continue working together for the love of the viola—because, let’s face it, we all know it’s the instrument everyone secretly wishes they played!