his other work, In the South (Alassio), the pas de deux scene from Act 2 of Adolphe Adam's Giselle and the "La Paix" movement of Léo Delibes's ballet Coppélia, which features a lengthy viola solo. Gabriel Fauré's Requiem was originally scored (in 1888) with divided viola sections, lacking the usual violin sections, having only a solo violin for the Sanctus. It was later scored for orchestra with violin sections, and published in 1901. Recordings of the older scoring with violas are available. While the viola repertoire is quite large, the amount written by well-known pre-20th-century composers is relatively small. There are many transcriptions of works for other instruments for the viola and the large number of 20th-century compositions is very diverse. See "The Viola Project" at the San Francisco Conservatory of Music, where Professor of Viola Jodi Levitz has paired a composer with each of her students, resulting in a recital of brand-new works played for the very first time. Twentieth century and beyond In the earlier part of the 20th century, more composers began to write for the viola, encouraged by the emergence of specialized soloists such as Lionel Tertis. Englishmen Arthur Bliss, York Bowen, Benjamin Dale, and Ralph Vaughan Williams all wrote chamber and concert works for Tertis. William Walton, Bohuslav Martinů, and Béla Bartók wrote well-known viola concertos. Paul Hindemith wrote a substantial amount of music for the viola; being himself a violist, he often performed his own works. Claude Debussy's Sonata for flute, viola and harp has inspired a significant number of other composers to write for this combination. Charles Wuorinen composed his virtuosic Viola Variations in 2008 for Lois Martin. Elliott Carter also wrote several works for viola including his Elegy (1943) for viola and piano; it was subsequently transcribed for clarinet. Ernest Bloch, a Swiss-born American composer best known for his compositions inspired by Jewish music, wrote two famous works for viola, the Suite 1919 and the Suite Hébraïque for solo viola and orchestra. Rebecca Clarke was a 20th-century composer and violist who also wrote extensively for the viola. Lionel Tertis records that Edward Elgar (whose cello concerto Tertis transcribed for viola, with the slow movement in scordatura), Alexander Glazunov (who wrote an Elegy, Op. 44, for viola and piano), and Maurice Ravel all promised concertos for viola, yet all three died before doing any substantial work on them. In the latter part of