In 2022, the Italian violist Marco Misciagna released the world premiere recording of all works for solo viola by Maurice Vieux.
Admitted to the Conservatoire de Paris, he obtained a first prize unanimously in 1902, following a competition which all the newspapers reported as being of exceptional quality.
A wonderfully gifted artist, an unparalleled virtuoso, he made of the viola a leading instrument, reducing the ostracism that kept it at a distance until then.
Maurice Vieux played soloist at the Society of Concerts at the Conservatory, at Colonne, Pasdeloup, Walter Straram, and at the radio-symphonic orchestra.
His merits have made him the sought-after and appreciated collaborator of such masters as Saint-Saëns, Gabriel Fauré, Vincent D'Indy and Claude Debussy; virtuosos such as Sarasate, Ysaye, Kreisler, Cortot, Marguerite Long, Enesco, Casals, Capet, Thibaud, Diemer, Sauer; Quartetists such as Marsick, Parent, Touche, Sechiari.
It has been unanimously said that: "his tried and tested style, his accomplished technique, his ample and generous sound, his natural sense of expression and the strongest musicality.
It took me some time - and my friendship became even more vivid - to override that slightly grumpy mood and discover behind this imposing and rough carapace who he really was: a teacher devoted to his pupils, a delicate man without affectation, a great kindness.
It is only natural that a teacher worthy of this beautiful but difficult profession should be surrounded by the exclusive and affectionate admiration of his pupils.
In doubt, it suffices to allow one's heart to speak and to simply say what one knows; age and experience having taught us to judge the expression of our feelings.
His charm without concession to facility, his astounding technique, always ready and always at ease, his sovereign authority in the playing style as well in the attitude, as far from the morgue as the false modesty; in short, these qualities so diverse, united in such right proportions, made him an inevitable choice among all the virtuosos of all countries for the ensembles of Enesco, Kreisler, Cortot, Thibaud, Casals, Francescatti, or Saint-Saens, Debussy, d'Indy and so many others.
It was up to him, and I remember the short hesitation when, in 1919, the Minister wanted to send him for an important series of concerts in the United States, when such impresario solicited him for the Germany, Italy, Central Europe: "What would become of my students? "
The mastery of his teaching, his ardor and his meticulousness were as lively as ever in the evening of an exhausting day for anyone else: after the seventh hour of lesson, the final chord of a Valkyrie or a Rose Knight found him as valiant, as triumphant as he had been at the beginning of a sparkling recital.
And how many of us owe him an emotional memory for some help, or a favour sometimes hidden by a charming modesty; his table was open to those who were going through a difficult time, his complete hospitality offered to others who were ill in some modest hotel room; we can not count his efforts in order to provide jobs and support, to fix an injustice, to palliate a misfortune.
When this modest tribute will be read, the Conservatoire de Paris will have awarded the first Premiere Viola of Maurice Vieux's class a cast of this powerful hand, the frightful agility of which we considered with timid respect.
His bust was erected in this little room, where his indignant voice still echoes from some technical mistake, or his laughter blooming before a difficulty overcome with elegance.
If it is true that the dying are reviewing their existence, Maurice Vieux left comforted by noting that his sowing has risen well: a pleiad of artists follow his trace, strive to resemble him.