Sir Charles Villiers Stanford is well known to British history, but poorly recognized by those outside of the British Isles. Irish born but a life-long loyalist, Stanford was passionate about his identity as a British gentleman. While home rule was constantly on the political agenda in Ireland, Stanford fully immersed himself into English life, first at the University of Cambridge, and later as a founding faculty member of the Royal College of Music, London. Stanford believed that the British need not copy the Germans in their music, but could develop their own talent and national identity of sound. Stanford’s early career coincided with a boom in musical criticism, making the effort to create an English Musical Renaissance possible with the help of original music, highly trained musicians, and a blossoming force of literary critics to spread the word. While musicologists debate the validity of the term “renaissance” in association with Stanford and Hubert Perry’s output of music, there is no denying that Stanford’s extended tenure at the Royal College of Music created an army of composers who were fertile soil for an explosion of viola repertoire in the twentieth century. This dissertation explores a small section of the output of Stanford’s students’ work for the viola. The first portion of this project features Stanford’s own hand, a clarinet sonata, which was inspired by the Brahms Clarinet Sonatas and similarly adapted for the viola under the approval of the composer. The recording features some lesser-known works of Stanford’s students, including works by Gordon Jacob, Frank Bridge, Herbert Howells, Ralph Vaughan Williams, and Rebecca Clarke. The recital features an unpublished Sonata by Edgar Bainton, Vaughan Williams’s Four Hymns for tenor, viola and piano, and Morpheus by Rebecca Clarke. It is my hope that through this plethora of artistic beauty, Stanford’s legacy in the viola canon will be elevated to reflect the tremendous impact he left on our repertoire.