About this instrument
Henry Lockey Hill – Viola, London, c. 1810–1820
This particularly fine viola by Henry Lockey Hill has survived in excellent condition, with virtually no cracks. This is especially gratifying in an instrument dating from around 1810–1820. It also combines a very comfortable size with a large, powerful sound, making it particularly interesting for musicians seeking a manageable historic instrument with considerable tonal quality.
Visually, too, it has a distinctive and attractive character. The warm golden-brown varnish, the lively figure of the back and the expressively carved scroll form a harmonious whole. I particularly appreciate the fact that, despite its history of more than 200 years, it is so well preserved while retaining the natural presence of an old instrument.
Tonally, it is especially compelling for its combination of power, warmth and excellent projection. The sound has ample body and a fine resonance, while remaining clear and present. It is a full, substantial viola sound that is effective not only directly under the ear, but also carries exceptionally well at a distance. Particularly appealing is the fact that this projection does not come at the expense of warmth. The viola has a characterful, richly coloured voice that allows ample scope for musical expression.
Equally impressive is its easy, direct response. The instrument responds immediately to the bow and is exceptionally comfortable to play. It does not require great force to produce a projecting sound. To me, this is an important quality: a good instrument should support the player and allow them to concentrate on the music, rather than having to struggle continually for the sound.
With a body length of 40.3 cm, this viola is therefore of particular interest. Anyone specifically seeking an instrument of this size will find here a highly successful combination of comfortable handling and tonal volume. In this instance, its manageable dimensions by no means imply a small sound.
Henry Lockey Hill (1774–1835) was one of the leading London violin makers of his day and came from the long-established Hill family. Among others, he worked for John Betts, whose workshop was then one of the foremost establishments in English violin making. Some of the particularly fine instruments from this circle are attributed to his hand.
Hill frequently took Stradivari as his model, while developing a personal style of his own. His elegant workmanship and the quality of his varnishes are particularly highly regarded. He thus represents a sophisticated strand of early 19th-century London violin making. His son, William Ebsworth Hill, later founded the celebrated firm of W. E. Hill & Sons.
For me, this viola is an unequivocal recommendation. Its excellent condition is a major advantage, but ultimately it is the sound and the comfortable playing qualities that are decisive. Anyone seeking a historic viola of around 40 cm and placing importance on power, warmth, easy response and excellent projection should certainly try this instrument.