"It's about a year old and by a young French maker who specialises in making violas only. He's only in his early thirties and divides his time between Paris and London," says the Swedish-born violist.

"It's a bit smaller than my old one. It's got different qualities and is more mezzo soprano-like, whereas the other had a more low register. It has more overtones and is a little more rough on top."

All of which may explain why he comes over more clearly within the Elias.

"It's a bit of a mystery I suppose. There are all these different theories (about the distinguishing qualities of a string instrument), whether it's in the varnish, the body shape, quality of the wood."

Martin's Music in the Round lunchtime concert on Wednesday takes in the second of Bach's three viola da gamba and klavier sonatas BWV1028, Britten's Lachrymae Op 48 and Schumann's Märchenbilder (Fairytale Pictures) Op 113.

The only exclusively viola piece is Britten's Reflections on a Song of John Dowland written for William Primrose in 1950 an arrangement of which, for viola and orchestra in 1976, was to be one of his last works.

Britten was a viola player, wasn't he?

"Yes. Actually he was an amateur viola player. This is one of my favourites in the viola repertoire, a really good piece, one of the few really good pieces!" – in a not particularly large viola repertoire?

"That's true. The repertoire is quite small and the Lachrymae and Schumann are two of the most often played pieces."

Schumann published an alternative violin version of his four-movement work and it is regularly heard on the clarinet, while the Bach is frequently encountered arranged for cello or viola and piano.

Speaking of Britten, Martin and his Elias colleagues finished recording the composer's Second and Third string quartets, plus the Three Divertimenti, at Potton Hall near Aldeburgh last Friday.

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